Anacrusis: that sounds so fun, and so rewarding too, but you must be utterly exhausted. Music education makes me sigh. It's good so many individuals and organisations try so hard, because in schools it seems underfunded and very hit-and-miss (with a lot more missing than hitting).
Andante-in-C, I couldn't resist having a look at the syllabus out of pure curiosity! I'm rubbish on all modern music. The two Barsanti sonatas are both delightful, and it's so nice to see something other than the third of his recorder sonatas. The whole of YouTube plays No. 3, but no one (except Barnaby Ralph!) touches anything else. I love Barsanti because every one of his sonatas is completely unique - and every movement is different too. There's so much in there. (He's not like those composers who wrote the same piece 57 times...). No. 2's opening Adagio is gorgeous beyond words (but to me, completely unplayable); the allegro is pretty and spritely, I have no idea what to do with the Largo, and the presto has charm. But No. 4 is totally gorgeous. It's odd because it's got a huge set of piano/forte contrasts in the opening Adagio (which Barnaby Ralph calmly ignores as loudness, and deals with by contrasting style - good man!), I'd guess the con spirito is super-fun (but I wouldn't dare, couldn't cope, and it needs accompaniment to work properly, which I don't have) but, beauty of beauties, the following sicilana largo is totally heavenly, and the gavotte allegro that follows is super fun to play (I've had a go, couldn't resist; and that's another bit of Barsanti's skill: a lot of his music sounds good whether it's played super-well or at an amateur level). The gavotte should be set as a piece for practicing trills in context, too. Actually one of the reasons I love Barsanti is his phrasing: he writes in a lot of slurs, and his music benefits soooo much from careful phrasing, but it's easy to think out what to do, because he's provided so much help. It's lovely to see him on the list, and makes me happy (my only Barsanti-related gripe is that absolutely no one seems to play his German flute sonatas, even though they're perfectly decent and could be done on recorder too, of course).
The Van Eyck, on the other hand, is very disappointing. Yup, Daphne and Wat zal men are both beautiful, but strewth, we're looking at the biggest collection of solo music for any instrument ever written, here. Why is it always the same two bits? And in Daphne they've chosen two variations that are very similar too.
Oops, jobs to do. Getting carried away there.